Nether Den

How To Dye Faux Fur

This process uses alcohol-based dyes (also known as spirit-based dyes), which do not affect the texture and "fluff" of the faux fur fibers in a negative way like heat-dependent dyes or acrylic paints. Also, since the dye is only activated by alcohol, the color will not bleed from water/rain.

This process is a work in progress and still experimental. I will update this guide as I tweak things and achieve the most desirable results.
This technique works best on white fur, as your results will be less predictable on colored fur. It should go without saying that you can only dye darker than the original color you start with.
I conceived this method because I don't have the space or funds to stock lots of differently colored furs. I use Monterey Mills White Fox for pretty much everything, which has been problematic for making animals that are not primarily white. Manually airbrushing the fur "down to the roots" is extremely difficult to do well quickly or evenly, and I often end up with too much pigment on the fur from my efforts to do so, causing it to look/feel coarse and stiff.
This method simply consists of making a vat of dyed alcohol, dunking pre-cut fur pieces into it (except for areas that need to remain pure white), and laying/hanging them out to dry. The dyed fur gives you a terrific base color to work on, and won't reveal any white roots/backing if the fur is parted by air movements or gravity.
I enjoy making these guides and sharing my knowledge, and I would love to make more. I'm also keenly interested in making video versions. Please check out my campaign on Patreon if you'd like to help me achieve my goals:
Materials Needed:
  • spirit-based dye in color(s) of your choice
  • at least 4 cups (1 quart) 99% isopropyl alcohol
  • a one gallon container with a lid
  • a 1 cup measure
  • 1/4 teaspoon measure
  • mixing stick
  • your pre-cut fur pieces
  • a pencil
  • all-plastic wide-tooth comb or hairbrush
  • plastic sheeting or lots of newspaper


Step 1: Assemble Materials


I used a bucket, but I think a shorter and wider container would have made dunking more controlled. As for sourcing the alcohol, I got it from a local chemical supply company. The dye pictured was bought from, and is their LeatherColors line (color chart is here). Ensure you protect your work area with plastic sheeting or lots of newspaper, as you will often end up unintentionally splashing or dripping dye.


Step 2: Mark Dye Borders (Optional)


The pictured ready-to-fur underskull and fur pieces are for a Red Wolf, an animal which does have some white areas on the muzzle, cheeks, and neck. If you do not need to retain any non-dyed areas on your fur, you may skip this step. However, if you do need non-dyed areas, use a pencil and mark on the backing where you need the dye to end. Be sure to give a generous allowance so if you have a little bleeding past the line it won't be a problem. You can always manually add color later up to where you truly need it to end, which should be done during your normal airbrushing phase after the mask is fully assembled.


Step 3: Mix Dye


Put 4 cups (1 quart) of 99% alcohol in your container, then add 1/4 teaspoon of your dye and mix well. Don't forget to RE-CAP your dye and alcohol containers, as these liquids evaporate rapidly. For this project, I used the Medium Brown LeatherColors dye, which is reddish-brown.


Step 4: Dunk That Fur


Fold one of your fur pieces in half so the backing is on the outside and you can see your dye border line, if any. With your non-dominant hand holding the top, carefully lower your fur into the dye mix up to the desired point (or submerge it if you want to dye the whole thing). If you have a dye line, use your dominant hand to push the fur down along the line so the mix reaches it. You may have to rotate it a bit to get it up along the entire line. When everything you want to dye has color on it, slowly lift the fur up out of the dye mix, using your dominant hand to squeeze the dye mix out and back into the container. Be careful to not touch un-dyed areas with that hand unless you dry it, but even if you do it is the backing side which is less critical than the fur. When it's no longer dripping heavily, move the fur piece to a prepared spot and lay it out to dry. Put the lid on your dye mix container to prevent unnecessary evaporation.

For color testing purposes, you can optionally perform this step and the next two steps with just a swatch of fur rather than one of your cut pieces.


Step 5: Brushing & Color Evaluation


Brush the dyed fur to even out the color. Your comb/brush bristles will carry color, so do NOT brush any of the un-dyed fur! However, you can use this to your advantage if you want to even out the edges of the dye or "drag" dye into other areas. Let the fur dry for about 10 minutes (it will lighten as it dries) and then evaluate the color. If it is nearly dark enough, leave it alone because you can airbrush it slightly darker later during your regular coloring phase. However, if it is way too light, you can alter your dye mix and dunk again.

Step 6: Re-Dunking (Optional)


Add another 1/4 teaspoon of dye to your dye mix, re-dunk and re-evaluate to your satisfaction. Once you are pleased with the result, take a note of how much dye you used per that 1 quart of alcohol. My mix ended up being two 1/4 tsp doses, or 1/2 teaspoon total of dye.


Step 7: Dye Remaining Pieces


Now that you've got the color right, go ahead and dye the remaining pieces according to the previous steps. Pictured, you can see the hood/neck pieces of the Red Wolf mask, consisting of two pieces of fur I had pre-sewn at the middle front edge.


Step 8: Allow To Fully Dry

When the fur pieces are no longer obviously dripping, brush again and hang them up to dry somewhere. Here you can see the Red Wolf pieces hanging on my shower rail. Put some newspapers or plastic down to catch any possible future drips. Once the fur is fully dry, you can use it as you normally would for mask assembly and it will make your coloration phase that much quicker!


Step 9: Even Out Color (Optional)

Here you can see the finished product from my Red Wolf pieces after they were fully dry. The color is not even, rather it is a bit mottled, which may be good for certain species of animals.

Possible variables:

  • the amount of time the fur is submerged in the dye mix 
  • the amount and frequency of brushing the wet hair
  • gravity's effect on the position it dries in (laid out vs hanging)

If you would like a more even distribution of color, dip your brush/comb into some alcohol and brush the dyed areas thoroughly, de-furring and re-wetting the brush as needed. Brush the fur with the grain, against the grain, and then with the grain again. You should get a result similar to this:


Additional Notes

If your ending color is too dark, or if you accidentally dyed some fur that you didn't mean to, use pure alcohol and a sponge or paper towels to leech dye out of the fur. With some tenacity and patience, you can get nearly all of the dye out and achieve an off-white color. However, I've never been able to get all the way back to pure white with this method.

When I finished dyeing the Red Wolf pieces, I had slightly over 2 cups of dye mix remaining. Since I had started with 4 cups of alcohol, I chose to assume I had used half of the total mix, which used 1/2 teaspoon of dye. Therefore, I added 2 cups of alcohol and 1/4 teaspoon of dye in order to remake my dye mix so I could also dye my Maned Wolf pieces the same base color. I could have technically just used the remaining dye mix, but I didn't want to have to deal with trying to sop up the liquid evenly - plus I will be using this color for at least one fox mask in the near future.


How To Create Realistic Animal Ears Using A Wire Mesh Base

Mesh base animal ears are sturdy, poseable, and durable. They can be attached to masks, hats, headbands, etc. 

 I enjoy making these guides and sharing my knowledge, and I would love to make more. I'm also keenly interested in making video versions. Please check out my campaign on Patreon if you'd like to help me achieve my goals:


Materials Needed:
  • Paper
  • Pencil
  • Scissors
  • Reference Pictures
  • Chalk (if using dark-colored fur material)
  • Wire Mesh
  • Wire Cutters
  • Hot Glue Gun
  • Hot Glue Sticks
  • Fur Material
  • Electric Dog Groomers w/ Length Guards


Step 1: The Pattern

Look at your reference (in this tutorial's case, a fox) and draw the shape of the ear on a piece of paper. You should draw it a bit wider than it looks on the animal to account for the curve of the ear, otherwise it will be too narrow when you curve the finished ear. Don't be afraid to draw it bigger than you think it should be; it's easier to trim the pattern down than to make a new one. You only need one pattern, as you will simply flip it over to make the other ear.
Hold your ear pattern in the proper curve and place it on the head. Are the proportions to your liking? How does the size look? If you want them bigger, make a new pattern. If smaller, feel free to trim. Don't trim too far, because you can still trim at later steps.
Do you like the direction that the ears point? To make them stand up more, trim the side of the base nearest the top of the head. Vice versa to make them point more sideways. Either way, ensure that the base of the ear touches the head along its entire length, accounting for the curve.

Step 2: Cutting Materials

Hold the ear pattern against the wire mesh, near the edge, and use the cutters to clip out a vague ear shape. No need to be exact at this point, just try to be close. You'll need to cut out two.
Now comes the fine trimming. You'll want to lay the mesh on top of the pattern and cut the wire about 1/4 of an inch away from the sides and top of the ear pattern. As for the mesh near the base of the ear pattern, cut that edge even to the pattern edge. Repeat for your other mesh ear base.
Lay your fur material with the fur side down and the fur direction going away from you. Place the ear pattern on the material with the top of the ear pointed away from you. This is the direction that fur grows on an animal's ear.
Trace the ear pattern onto the fur material using a pencil or a piece of chalk. It is very important to use a marking tool that will not bleed to the other side of the material - no pens or markers! Trace two copies of one side of your pattern and two copies of the other side (flip it), for a total of four.
Now we cut the fur material, but this is unique compared to regular material in that you can accidentally cut the fur where you don't mean to. The solution to this is to only insert your scissors a few centimeters and clip carefully the whole way. Alternately, using a rubber cutting mat and utility knife, gently slice along your tracing line with a very sharp blade - do not press down to the mat or you may accidentally slice fur. Hold the material a little above the mat and slice carefully with a VERY sharp blade. Fur material dulls those blades quickly, so be sure to have an extra on hand. Working with a dull blade can accidentally rip the material.
When you are done, you should have two copies of both sides of your pattern, as seen in the image above. The wire mesh is also pictured, and you can see how neatly it fits inside the fabric's borders.

Step 3: Gluing The Ears

Begin placing glue at the top corner of the ear - only a little because you are about to match the other piece of fabric to this one and glue the tops together, sandwiching the wire mesh in-between. Ensure that you encase those sharp wire ends in hot glue! Do not glue all the way up to the fabric edges, as you will need a few centimeters for finishing work later.
Match the top of the corresponding piece to the top of the piece you just glued, matching your edges. Once you have the tops lined up, fold the rest of the material down (match edges) and then press down over where your glue is. Firmly hold for a couple of minutes or so until your glue has cooled a bit and is holding well.
Fold your top material back up so you can see where you need to glue next. Patience is key here, as it is best to only do a little at a time - about 1/2 inch - because the glue holds best when it's as hot as possible. So glue your next 1/2 inch and repeat the process of folding it back down and pressing as you did before. Keep going until you've glued the entire ear in this manner. It is okay to glue all the way to the edge of the fabric along the ear base. In fact, it is best to do that in order to coat the sharp wire ends for safety. When you are done, you should have an "ear sandwich" of sorts - two pieces of fabric hot glued together with the wire mesh base in-between.

Step 4: Shaving The Ears

You definitely need to do this step if you are using long hair. It also helps immensely if you have clippers with interchangeable guards. I use electric dog groomers.
Pick which side of the ears will be the backs. Brush the hair out a bit so it hangs down, then use your clippers to shave all of the hair on that side down to about 1/2 inch or so (longer if you desire fluff) using the proper length guard.
Shape the ears into a curve like the animal's ears you are emulating. The shorter fur side is the back.
Shave all of the hair down away from the outer edge and top of the ear. It should remain long on the inside only (not reaching outside the borders), especially on the side near the top of the head. These lengths will depend a lot on the species you are making.

Step 5: Ear Edging

Cut away any excess material on the inside of the ear edges so they are as even as possible.
Put a tiny line of hot glue on the edge line, then fold the hair from the back side of the ear over the edge and the glue. It will stay in place and mask the edge divide.
Continue for all edges except the bottom. Repeat for the other ear, and they will be finished and ready to attach to the base of your choice.

How To Attach Fur To A Moving-Jaw Resin Mask Face Blank

A hopefully-clear tutorial into how I attach fur to the faces of my masks. The techniques outlined in this guide were borrowed heavily from Clockwork Creature Studio's method.
I enjoy making these guides and sharing my knowledge, and I would love to make more. I'm also keenly interested in making video versions. Please check out my campaign on Patreon if you'd like to help me achieve my goals:
Materials Needed:
  • a hinged, ready-to-fur resin blank
  • desired fur material
  • pattern material
  • scissors
  • pencil or chalk
  • hot glue gun (hi-temp is best)
  • hot glue sticks (extra strength is best)

Step 1: Making The Pattern


A lot of people have asked me how I make mine. Well, I can tell you there are probably loads of easier ways than what I did for this one. I actually temporarily tacked fabric to a blank (mouth open!) and figured it out that way. I have heard people use masking tape, etc. Whatever works. I'll explain how to make the pattern in the next few pictures.

To make a face fur pattern, lay your ready-to-fur blank on a flat surface and open the mouth as wide as it will be open whilst being worn.

I am using a pre-cut face fur piece to demonstrate this. Now this is the same blank as the previous picture, covered in a one-piece face fur. The fur only has one seam, which goes down from the nose, across the void of the open mouth, and meets together at the bottom of the lower jaw. The front shot shows the single seam. This is what the mask will look like after the fur has been glued on, before the mouth and eyes are cut out.

Just another image to show that the fur is applied with the mouth OPEN, and meets as a seam below the nose and in the middle bottom of the jaw.


Step 2: Initial Attachment

Here you can see the face fur, cut using the pattern. The fur must always "grow" AWAY from the nose (that little semicircle at the bottom). I have marked the center line with simple light-colored chalk. You can also use pencil for this. However, do NOT use markers - they bleed to the other side of the fur material. 

I then draw a center line down the blank forehead, nose and lower jaw. The forehead/nose line will match the line drawn on the pattern, while the lower jaw line will be where the seam meets at the bottom.

 I line up my center lines on my fur and my blank, then I peel the fur back away from the nose and place a deposit of high-strength, high-temp hot glue about 1/2 inch back from the start of the nose. I then roll the fur forward along the center line and over the glue. Now the fur is anchored.

I then flip the fur forward over the nose, being careful not to disturb the glue.

Next, I glue the fur up the nose bridge in 1/2 inch sections. I put glue all the way across the top of the nose (the flat part) in each section. The key is not to pull or stretch the fur - simply gently roll it over the glue back onto the blank along the center lines.

I continue gluing the fur in that manner until I get to the area just before the nose becomes the forehead.

Step 3: The Muzzle


The next step is to glue the fur down the length of the muzzle on each side, including a little bit under the eyes and half-way across the cheekbones. Keep a 1/2 inch away from the edges of the nose and eyes. I managed to snap a picture showing how much hot glue I use at a time - it's very little.

Continue gluing the entire muzzle area, including down to the upper edges of the mouth.

Step 4: The Forehead

Next, I glue the forehead on all the way up from outer eye corner to outer eye corner, then more of the under-eye and cheekbone areas (but not all the way up to the hinge). What is left unglued is a semi-circular area centered on the temples.

I then put a sizable dab of glue on the end of the hinge attached to the face, and I roll the fur back over that. This makes for a smooth transition from the blank to the hinges, especially if the hinges stick out a little. Nowadays I will use lightweight epoxy putty to put a physical transition in place if needed, so there are no hidden bumps.

All that remains is the temple area on both sides. Notice there is an excess of material. This always occurs because of the curvature from the forehead to the cheek. The solution for this is to make a dart seam.

The dart seam is placed at the point on each side where the forehead ends and the side of the face begins. This is usually a diagonal line upwards from the outer corner of each eye. I have marked the line on the blank and the fur with colored chalk.

I then cut the line on the fur nearly down to the eye leaving about 1 inch before the eyelid edge.

I glue down the forehead side, then the cheek side nearly all the way up to the raw edge of the forehead side. The extra fabric is obvious at this point.

 I lay the cheek side fabric down against the blank gently and mark where it naturally meets the forehead fur edge.

 I then cut and glue the cheek fabric edge as close to the forehead fabric edge as possible. The seam will be undetectable in the finished product, especially since the fur is mostly going in the same direction. However, should the temple seam need special treatment, I can use the same technique on it that I will use on the lower jaw seam later.

 As for the edges that extend beyond the blank, they can either be carefully sewn together with minimal seam allowance (I use the whip stitch), or one could hot glue them to a small piece of fabric beneath.

 Now, the major gluing on the upper part of the mask is done. On to the lower jaw.

Step 5: The Lower Jaw


 I gently stretch one side of the face fur down to the center line. Using just a few dots of hot glue (this is a temporary attachment), I lay the fur across the center seam and then trim any extra off so I can barely see the center line. Repeat with other side.

Very carefully, I begin to cut back along the upper lip until I reach the cheek cutaway (the part just past the rear teeth where the upper jaw angles up sharply to give room for the cheek fur when the mouth is closed), giving about a 1/2 inch allowance. Later, I will trim it down more exactly after it is fully glued up to the lip edge.

I also begin to cut back along the lower lip, ending where the cheek cutaway begins on the upper jaw.

On the inside of the cheek, I make a shallow crescent shape with colored chalk, starting at the end of the cut I made on the upper lip and ending at the corresponding cut on the lower lip. An "expression" can be made into the mouth by moving the deepest part of the curve higher (a smile) or lower (a scowl). What you see here is an even curve, which is neutral.

I carefully cut out the crescent shapes/ You can see how the cheek fur neatly folds itself inside of the triangular cheek allowance when the mouth is closed.

Next, I glue all along the bottom lip edge. I put just a 1/2 inch line of glue and open the jaw fully, which presses the fur against the lower lip edge in the appropriate place, securing it.

I pull the center jaw seam fur up, detaching it and peeling it back to where I just glued the lower lip lines. Then, I glue the flaps down towards the center seam (leaving about a 1 inch allowance from the back edge of the jaw), butting the edges together in the same way as the dart seam on the temples.

 Since these sections of fur "grow" away from each other, I have to do a little treatment on the seam. I put a 1 inch line of hot glue down the seam, then quickly squeeze the fur together on top of it and push it down slightly. I repeat this down the entire length of the blank.


Step 6: Reveal The Eyes


I cut a slit in the fur from the inside through the tear ducts of each eye. Then I continue the initial cut across the eyeball to the outer corner, and extend it to the inner corner.

Carefully trim the material around the eye, cutting about 1/2 inch away from the eyelid edges. Edging work (not covered in this tutorial) will need to be done on the eyes and nose to hide the raw material edges and make it look as though the fur is growing out of the mask.

How To Make A Silicone Mold For Resin Mask Casting

This is how I mold most of my sculptures for resin casting purposes.
I enjoy making these guides and sharing my knowledge, and I would love to make more. I'm also keenly interested in making video versions. Please check out my campaign on Patreon if you'd like to help me achieve my goals:
Materials Needed:
  • surface protection, such as newspaper or plastic sheeting
  • a sculpture made of sulfur-free material - I use Chavant NSP Medium
  • aluminum foil
  • chip brushes - cheap, disposable brushes
  • Rebound 25 by Smooth-On
  • mold keys - previously cast cylindrical nubs of Rebound 25
  • scissors
  • plaster or gypsum bandages
  • permanent ink black marker
  • petroleum jelly or equivalent


 Step 1: Mold Prep



My fox blank, prepped for molding. A release agent is unnecessary since I am molding in silicone from clay. Note the mold wall, hinge depressions, and cheek cutaway outline. Also note the newspaper to protect against messiness.



My new hinges, prepped for molding. Note the mold wall is simply aluminum molded into a well with a flat bottom and sides about 1/2 inch away from the hinges.


Step 2: The Silicone Mold

Layer 1 - I take equal parts (Part A & Part B) of Rebound 25, mix them together in a third container, and apply the first layer evenly with a medium-size, wide-bristle paintbrush.This layer is the most important layer, as this is where all of your details are being captured, so be thorough in getting in all the nooks and crannies as well as eliminating any and all air bubbles. After an hour or two, it is cured enough for the next layer to go on.
Layer 2 - applied approximately 90 minutes after Layer 1.
Mold keys are an important element of a brush-on silicone mold, as they prevent the flexible silicone from flopping around in the hard jacket mold. I made these the previous day by pouring a bit of Rebound 25 in the dot impressions in the underside of a small plastic table.
Layer 3 - applied approximately 90 minutes after Layer 2. The keys have been placed on strategic areas: brow, cheekbones, muzzle, and side edges. I will be adding a few smaller ones around the outer edge also.
Layer 4 - applied approximately 90 minutes after Layer 3. Note that more keys have been added around the edges. The silicone molding process is now complete. Rebound 25 takes 6 hours to fully cure, so I usually leave it overnight.
If I am also molding hinges, then when I am ready to apply Layer 4 on the mask, I mix up a double batch of silicone. I used a little over half of that to carefully pour over my hinges and then use the rest for Layer 4 on the mask.

Step 3: The Jacket Mold

Using a Sharpie or other permanent black marker, make a line down the approximate center of the face. This will be the dividing line for the halves of your jacket mold.
I am using medical grade Gypsona brand gypsum bandages for the jacket mold. I like to use small-ish sections (2-3 inches), triple folded.
Use two long, thin strips of tri-folded bandage to make a ridge down one side of the center of the mask, then make the rest of that side. I used an entire roll for the first half - probably unnecessary but I want this mold to last. I use thinner sections (bifold) on the first layer, especially around the keys to hold them as snugly as possible. Ensure that you eliminate all air bubbles.
I use petroleum jelly (or equivalent) as a release agent for the mold overlap; otherwise, the plaster will stick to itself. Using a brush, I paint the jelly over about two inches of the center divide.
To begin the second half of the jacket mold, I take two long strips and put them down the center. They overlap the other mold half about 1/2 inch (not too much farther or it will be difficult to separate the halves later). Finish the second half in the same manner as the first. Allow to dry completely before demolding, preferably overnight.
This is what the hinge mold looked like fresh out of the aluminum. The clay was not completely flat against the bottom, so there was some seepage - this is not a concern, as all of the overhang will be trimmed away later.
Also, the slimy looking bits are some cure inhibition, which I have no idea what caused it. In some cases, inhibition will eventually cure if left alone for a long time. Fortunately, they are pieces I will be cutting off anyway, so it doesn't matter in this case.
Clay removed. Now to carefully trim away the overhangs. Small craft or cuticle scissors work best.
After that, the molds are ready for casting.

Written by Tara Andrus —

How To Paint Resin-Cast Wolf Teeth

I enjoy making these guides and sharing my knowledge, and I would love to make more. I'm also keenly interested in making video versions. Please check out my campaign on Patreon if you'd like to help me achieve my goals:

Materials Needed:

  • raw resin-cast wolf teeth - mine are SmoothCast 300
  • a sanding tool to prep your teeth casts for painting - I use a Dremmel
  • acrylic paints - I use Golden brand
  • paint brushes (especially a small tip brush for detail work)
  • a cup of water
  • a palette
  • a basic knowledge of color mixing to obtain desired shades
  • clear gloss (shiny) acrylic sealer
  • reference image(s) - see below

    Here is a very good reference image showing the peach/pink base color and purple-ish mottling of the gums as well as the off-white teeth color.

    Step 1: Sanding & Smoothing

    These are the raw casts. Notice all of those icky edges. Those will need to be sanded, along with removing any bubbles of resin that come from air bubbles that were trapped in the original molding process (most often between the front teeth). Additionally, now is a good time to test fit the jawsets to the interior of your face blank and to sand down anywhere that prevents a 100% perfect fit. Even if you have made your jawsets to fit your blank, there can still be variables in the thickness of your blank that necessitate shaving down the sides of the jawsets.

    Step 2: Painting

    The base color of the gums are a combination of peach and pink. Too peachy, and they will look pale. Too much red can make gums look inflamed or infected. Any mistakes can be easily remedied with a cotton swab and nail polish remover. Be sure to save any extra paint in a small plastic zipper bag for any necessary touch-ups during the next few phases of the painting process.

    Wolf teeth have a purplish-brown mottling around the bases of the teeth. It's best to dab this on with small and somewhat dry, round-tipped brush with only the tiniest bit of paint so none of the marks are too "hard". Also, consider rotating your brush as you dab so the marks are not all the same. If you get too much saturation or hard edges on your dabs, take some of your base color from the previous stage and dab with that.
    Teeth staining is very important for realism. Real teeth are not pure white unless they've been bleached or cleaned. Instead, teeth usually have a yellowish-brown tinge. To accomplish this, I watered down the yellow-brown significantly, applied it to one tooth, then went behind it with a dry brush and wiped the color all over the tooth (this is called an acrylic wash). On to the next one, etc. until they are all slightly stained. Also, try to put more of the stain at the base, which is where tartar tends to collect.

    A comparison showing the stained uppers vs. the "pearly white" lowers. It's obvious which is more realistic.
    The completed stained teeth. Next, clear gloss acrylic sealer will be sprayed on the teeth. This not only protects the paint job, it lends a shiny coating to the teeth, making them look slightly wet and adding even more realism.

    Step 3: Acrylic Sealer

    Teeth after a couple coats of gloss. Note the "wet" look. After the gloss dries, they are ready for insertion into the mask.


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